Multiple Exposure

Multiple Exposure

Definition - a photography technique of combining two or numerous separate exposures into one. 

Image Bank 

        I really like the multiple exposure images above as I believe they show the art of nature in a completely different way. I love the effect that the beauty of nature has when overlayed onto faces, there are certain details that show through, just enough to still see the face. I enjoy the colour photograph the most as it stands out against the rest, the majority of the multiple exposure photographs are taken in black and white. 

My Images

      This was my first attempt at multiple exposure photography, as you can see it didn't have the desired effect. Although there are flowers overlayed onto Hannah's face, it still doesn't look quite right. The reason it doesn't look like the photographs in the image bank is that I didn't take the pictures against the sky, therefore the background wasn't overexposed and had too much detail, therefore, stayed when I put in the top layer. The same goes for the flowers themselves, they weren't photographed against the sky so there was too much correctly exposed detail. 

       This was my second attempt at multiple exposure, this one went much better than the previous. It still needs improvement, however, the desired white background was achieved and the detail of Brittney's face can still be seen through the trees. I took the images for this edit against an overexposed sky in order for them to merge and create the white background. I still feel that this edit needs improving and as my nature project progresses I am hoping to achieve some outstanding pieces that reflect this style.  

Multiple Flash

Multiple Flash 

Definition - A flash technique where you fire the flash several times to increase the exposure allowing a smaller aperture to be selected. It can also be used for special effects; the most common being strobe like effect, following the swing of a golfer or the flapping wings of a nocturnal bird.

Image Bank 

        These are the images that inspire me when planning my Multiple flash images. I like these because they are simple photographs that can be taken in the studio. They show a gradual movement in a very clean and simple way, something I hope to achieve in my own work. I also like the contrast within the images against the black background, it makes them bold and very interesting. 

My Images 

       The images above were taken in the studio. For my images I used the black background setting as the blurred parts of the photographs would show up a lot more effectively than on the white background. The black background helps achieve static image as the photographs were taken in the dark with just the flash, this means I only caught fragments of the movement making it appear as a sequence. As the lights were turned off when the photo was being taken the camera was in manual focus mode, I focused the camera on the subject then it stayed on that focus even when the room was dark. The camera settings I used were 10seconds, F5.6, ISO200. The reason 10 seconds was used as a shutter speed is that the aim of the project was to record static movement, this long shutter speed helped me achieve 10 seconds of movement. I really like how these photographs turned out as they have a kind of fine art effect to them as some of them are slightly unclear as to what is going on. I would like to adopt this style in my work in the future. 

Recording Blur

Recording Blur 

SLR Camera 

Aperture

  

       Achieving blur through Aperture settings means having a large aperture (small F stop). This gives you a Narrow Depth of Field. For example 2.4, 4, 5.6 

Shutter Speed 

        Achieving Blur through Shutter Speed means increasing the amount of time the shutter is open. When having a small shutter speed it freezes time. Any shutter speed over 1/30secs can show blur. 

Slow Sync Flash 

        Slow sync flash is just a fancy term for using your flash with a slow shutter speed. It helps you keep your subject sharp while capturing motion or a dark background. 

Blur 
       For the first part of this technique experiment I tried to record blur outside. To do this I stood by a fast moving road with my camera on a tripod trying to record the motion of the cars. It was hard at first to try record this without the image being overexposed however when changing the exposure balance I managed to get some correctly exposed images. 

        For the images above I didn't use a shutter speed that was too long, I stayed around the 1/15secs to 1/8secs range. This was to ensure that I captured the right amount of movement as if I had used 1 or 2 seconds there would've been too much and it would've been unclear as to what I was taking. Throughout the shoot, I was using ISO100 to keep the light sensitivity low to ensure that they weren't overexposed. 



Slow Sync Blur 

       For these images above I used the studio with a soft box flash. Whilst in the studio I decided to use the dark background in order for the blur (which usually shows up quite light) to show. I really like the effect that the slow sync flash brings it makes the photos look slightly fine art as it is unclear as to what the light is across the image. I definitely found it easier to achieve blur in the studio than outside because most of my images had a good exposure. 

Ansel Adams

Ansel Adams 

Ansel Adams was an American Landscape photographer, born in 1902 in San Francisco. From Ansel's solitary childhood he found joy in nature, especially the Yosemite Sierra where some of his work was later taken. Adam's was part of The Sierra Club where some of his earlier success materialised, his first published work appeared in the 1922 bulletin and he had his first one-man exhibition in 1928 in the clubs San Francisco headquarters. Ansel Adams has been called a visionary for his efforts to preserve his country's wild and scenic areas, both on film and on earth. He is regarded by environmentalists as a monument and by other photographers as influential due to his extensive work of preserving the Earths beauty for future generations. 

Ansel Adams Zone System 

The diagram above refers to Ansel Adams Zone System that is apparent in all of his work. His work is predominantly black and white and concentrates on the tonal range within the photo to install mood and detail to the photograph. When doing images based on Adam's work I want to try achieve this tonal range in my photographs so there is detail and different depths. When looking at his work below it shows the tonal range perfectly, the light and dark areas showing the lighting, the detail nd texture of objects and the density of subjects. 

Image 1 

This image by Ansel Adams is titled 'El Capitan' taken in the Yosemite, California. 'El Capitan' translates to 'the chief' or 'the captain'. It is a vertical rock formation found on the north side of the Yosemite National Park, standing at 2,307m. The rock formation consumes the majority of the image, predominantly the right-hand side due to the way the photo was composed. By having the subject of the image off centre helps the viewer to see it blend into its surroundings, giving an idea of the setting not just 'El Capitan' itself. The height and predominance of the rock reflect its name of 'the captain', with its dominating nature and strong structure overshadowing the rest of the image. The comparison between the rock and the trees shows its sheer size, it leads the viewer to think about the difference it would be between them and the rock. One of my favourite things about this photograph is how the stream leads alongside 'El Capitan' into the background of the photograph, this breaks up the image and adds depth. I believe that I was drawn to this image due to the large size of the rock, how strong and dominant it is over its surroundings. 

Image 2 

This another image of Ansel Adam's from the Yosemite collection. This particular into is titled 'Oak Tree, Snowstorm', true to its name it shows a large, strong Oak Tree dusted in snow. This photograph stood out to be immediately due to its angelic appearance, the white snow delicately balanced on the branches is a very powerful contrast to the size of the Oak Tree. The composition of the photo with the tree being the very centre and the only subject of the photo makes it a classic, clean and aesthetically pleasing piece. I like the intricate detail of the photograph that is apparent the more you look at it, even the smallest of the branches can be seen due to the snow balancing on top of them. Even though the photograph wouldn't hold much colour anyway I like the black and white contrast of it, I feel that it adds to the delicacy of the setting. The image definitely reminds me of a 'Winter Wonderland' scene where everything is perfect and looks painted rather than photographed. 

Image 3 

This photograph is titled 'Rose and Driftwood'. The image is simply was its title implies a rose placed on a piece of driftwood. I feel that this image of Ansel Adams is different to the rest due to it not showing a landscape but focusing on one piece of nature, not even in its natural setting. Despite this it still links to his other work as it has the delicate and aesthetically pleasing appearance to it, nothing is out of place and the rose looks very much alive. I love the curves of the photograph created by the petals it gives the image a sensual and smooth feel. This links to the meaning of the rose, to give someone a rose implies love and romance, just as the photograph shows. The black and white effect of the image leaves the beauty to your imagination, it's down to the viewer as to how the flower appears. I would like to adopt a similar approach to this in my own work with landscape images but also a close focus on the smaller details of nature too.  

Image 4 

The photograph above is titled 'Aspens, Northern New Mexico'. From the title we can guess the location of the photograph which must have been taken in Northern New Mexico, the 'Aspens' part of the title refers to the type of tree that is displayed. This image is slightly different other pieces of Ansel Adams' work as it focuses on one part of the trees, not the whole scene like he usually does. The image is comprised of a foreground and background, the background showing the Aspen trees that look dull and slightly scary. The foreground displaying a beautiful tree with white (or light coloured) petals on it. This is a contrast between something that looks scary, dangerous and mysterious to something that holds beauty and stands out amongst the rest. I believe this represents people that stand out due to external beauty, shining out against the mundane. I like the tonal range of this photo, the foreground tends to be dominantly bright then moving further and further into the image it gets darker almost like its going through a gradient. The deeper into the photograph you go the darker it becomes and the less detail is evident. 

Image 5

Adams took this photograph “Tetons and Snake River,” in 1942, in northwest Wyoming’s Grand Teton National Park. I think the most powerful part of this photograph is the contrast between foreground and background he has used depth of field and the snaking river to draw our eyes right back to the snow-capped mountains at the back. This means that the river asks as a leading line, it reminds me of a long path that meanders and has no clear end, this could represent an unclear journey with twists and turns along the way. The photograph is extremely dark, the tonal range is mainly dark greys and black despite the bright river. This contrast and the brightness of the river draws me to it more which makes me think it is the main subject of the image. The clouds add to the uncertaintity feeling of this photograph, it really reminds me of going somewhere you dont know and feeling anxious and unsure about where you are going or what you are doing. However, I still enjoy the photogrpah because of its aesthetically pleasing appearance. 

Influence 

Above is an image that I took inspired by the work of Ansel Adams. I was influenced by Adams' landscape and nature work. When researching his photography I came across the image above of the tree against the plain sky, I thought this was really effective as the lack of detail and back lighting from the sun makes the details of the branches really stand out. This is what I intended to do in my own work. The way I took the image was so that the leaves and branches were in front of the sky, giving some areas a bold appearance. This ensured I picked up the detail that Ansel Adams managed to do. The only difference between the images was that I wanted to keep the bright green colour in mine so that it fits in with my other work. 

Summary 

Overall, Ansel Adams has inspired me a lot throughout my project. Firstly, I have taken influence from him conceptually, I have been photographing nature from different angles, looking at detail and the wider perspective. Secondly, I have learnt a lot about photographing landscape from researching his work. From looking at his camera technique I am now using the highest aperture that I can to ensure that my images are in sharp focus, the widest depth of field that I can use has really improved the appearance of my work. I learnt this due to the fact that Ansel Adams was part of the F64 club whereby the members shot at high apertures to ensure a sharp image. Lastly, I have been concentrating on the tonal range of my work form the 'zonal system' that Ansel Adams created, stating that every piece of work should include a wide range of tones. I feel that throughout my project, especially in the editing process, I have been trying to increase the tonal range of my images by using curves and increasing contrast. 

Contextual and Critical Analysis

Critical Analysis - Mendel Grossman 

Mendel Grossman was a photographer during the Second World War. He was a Jewish man who lived in the Lodz Ghetto with his family. At first Grossman photographed landscapes, flowers and still life until he found expression and motion on the streets of the slum and discovered that he could use photography to display the tragedy. Mendel obtained a job in the Photography Laboratory in the Department of Statistics of the ghetto. This was where everything that happened in the Lodz Ghetto was recorded, including photographs. In 1939, the manager of the Jewish organization for the protection of children approached him proposing that he produce an album of Jewish children showing the way they live.  Whilst Grossman was documenting the Jewish people he found it hard to photograph them at their lowest points when their humanity was gone. However, Mendel and other Jewish people thought that it was important that his work continued so that future generations could see the awful way they were forced to live. A way to ensure their memory lived on in history. Although Mendel wasn’t allowed to take these photographs he found another way to do so, by hiding the camera under his coat and controlling it with his hands in his pockets. Nothing stopped Grossman from taking the images, not even the fear of the Gestapo finding out. 

One of Mendel Grossman’s pieces of work was focused around the lives of the children in the Lodz. As mentioned before this particular piece of work was proposed by the Organization for children’s protection. I have selected one of these images, displayed above. This particular image stood out to me due to the sheer fact that it isn’t as awful as other photographs upon first sight however when looking at the meaning it is slightly sinister. At face value there are two boys smiling, playing around together, one dressed up as a policeman pretending to arrest the other. Both have a smile on their face as to them this means nothing more than a game, whereby they pretend to be the adults that they see around them. However the contextual background of this image gives us a different view. As we know this photograph was taken during the Second World War in the Lodz Ghetto where many Jewish people were left to starve and treated poorly. The Gestapo (German Police) was mainly in control of the treatment of the Jewish people however some Jewish people who worked in Law Enforcement were made to work with the Gestapo against their own people. This is the sinister nature behind the photograph as the young boys are oblivious to the fact that him arresting this man means far more than punishment. It meant death, or torture however this was beyond what the children knew, especially as it was their parents, their families that were in these positions. This is quite probable in this situation due to the fact that the child is wearing a uniform it could mean that his father is in the Police force therefore he dresses up like him. Mendel’s images were shot in black and white due to not having a colour camera however I think this adds to the awful feeling of his work. With the absence of color brings the absence of life, a dull feeling that links to the way the people had to live. Without being able to leave the Ghetto, see the rest of the world or live in the way that they want to is the absence of being able to live. The body language of the young boy in the black police outfit seems very controlling, the hand reaching onto his shoulder looks like he's holding him in place, he has total control of the situation. His outstretched arm we can see is holding a stick against the other boy, this could also represent control as it can be seen as a threat of punishment if he disobeys. The stick in many police practices was used to punish people when they wouldn't conform to what they were being asked to do. The chimney in the background could represent the time this photo was taken, from contextual information we know this was taken in the Lodz Ghetto during World War 2, this is when concentration camps were being set-up for Jewish people by the Nazi's. The chimney could represent these concentration camps of often people were killed and their bodies burned. Again this adds to the sinister nature of the photograph as the boys are playing not really knowing what is going on around them, oblivious to the fact that the way they are playing can be seen on the streets when actual Nazi's are treating Jewish men like this. 

Forest - 10/09/17 (Shoot 1)

Forest - 10/09/17 

Ansel Adams - Research 

      Above are two images I took inspiration from when doing my first forest shoot. The first image I particularly liked due to the composition and shallow depth of field. I think the image is very effective as it appears quite mysterious because of the dark and the fog in the distance. I would like to compose an image similar to this one in my work as Epping Forest (where I am shooting) has a path leading up to it. The second image I found of Ansel Adams is of a tree isolated from all others. It stands alone allowing you to catch every detail of the branches from the sun behind it. I think this image is fascinating because of the abundance of detail you can see within the tree, where it is isolated from the others it makes it appear more beautiful and different to the rest of the forest. I hope to achieve an image like this in my shoot, whereby there is fine detail of branches not necessarily texture. 

Image Bank 



     The above images are ones that have inspired me for my first shoot in Epping Forest, they are ones that I think I can achieve in the area. All of the images are quite detailed and show the strength and size of the trees. This is something I want to achieve in my work, by showing leading lines that draw the viewers eyes into the photograph. 



Contact Sheets

Best Images (Edited)

Images that require improvement 

     I think that this image requires improvement as there isn't a particular subject that makes you concentrate on the photo. It lacks interest and can be easily overlooked due to it being rather plain. The photo isn't very well framed as it seems unbalanced on either side, it doesn't reflect Ansel Adams work in the way that I want it to. I don't think I would shoot this photo again as there isn't a particular subject in the setting that I can make the focus of the image. 

      This is the second image that I think requires improvement due to it being extremely underexposed. This was one of my attempts at taking an Ansel inspired image of tree branches against the sun in order to see every detail. However, when I took the photo my camera setting must have been right due to the branches and leafs appearing black and lacking any fine detail. If I was to retake this photo I would ensure that my ISO was higher and a longer shutter speed so that more light would be let in. 

AO1 - Develop ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding. 

       Before setting out to do my first Epping Forest shoot I research the work of Ansel Adams. I found his work extremely interesting, especially the photos he had taken of the forest which inspired me in my own work. One of the main things I noticed about Ansel's work was the way everything was framed, the composition of his images made them more interesting than a photo that has just been taken straight on. I tried to adopt this in my own work by variating the different angles I took photos from. Another way I have been inspired by Ansel is through his extreme contrast of black and white in most of his work, I think in terms of forest photography this works really well due to the many tones within each image. I have tried this style myself when editing some of my images, although not making them black and white as it won't suit the rest of my project I have increased the contrast to give that harsh effect. 

AO2 - Explore and select appropriate resources, media, materials, techniques and processes, reviewing and refining ideas as work develops. 

      During my first Epping Forest shoot I used the Nikon D3300. On the 10th of September when I shot the images it was quite a bright, sunny day therefore my camera settings were of around ISO400-800 depending on how far into the forest I was. I kept my shutter speed very low, usually around 1/500s - 1/250s, so that my images were sharp and had no blur from any movement that may occur from the wind. My aperture varied massively throughout the whole shoot as I wanted to get different perspectives throughout, which meant focusing on the foreground or background or in some photos both, so keeping a wide depth of field. Throughout majority of the shoot I kept my lens at 18mm in order to keep the proportion of the landscape accurate and to get as much of the surroundings in as I could. However sometimes I did zoom in slightly, especially when trying to pick up the detail of a tree trunk to get variety in my work (example below). 

      In this photo I tried to do something slightly different by focusing on the tree in order to pick up the texture and minute details it has. Therefore I zoomed into around 48mm with an aperture of F5.3 so that the lens picked up the detail. 

       As I mentioned before about it being a sunny day, I decided to take advantage of this and take a photograph of the sun coming through the trees like one of the photographs in my image bank. My result was slighting to bright when the sun overpowered the detail of the trees therefore I decided to edit it by changed the contrast through curves as shown below. 

AO3 - Record ideas, observations and insights relevant to intentions, reflecting critically on work and progress. 

       The images above are from my first shoot in Epping Forest, the photographs that I took were inspired by Ansel Adams work. Ansel's work was focused around nature therefore some of his images were of the forest, these are the ones that inspired me in this shoot. I tried to adopt some of his style, mostly the composition and detail he has in his images. 

      The first photograph in my best images was inspired by Ansel Adams work. It links to Ansel's photo of the path with a 'forest-like' background. I knew that where I was going to shoot there was a path leading up to the forest therefore this was the perfect opportunity to attempt the style of composition that Ansel does. I wanted to achieve the path as a leading line, whereby you can't see the end making it appear like it goes on forever the same way Ansel's work does. 

       The second photo in my best images links to the other piece of Ansel's work that inspired me. Although the images appear different they still have the same concept behind them, Ansel's photo shows the detail of branches and that is what I tried to do. My image has darker branches that stand out and then lighter ones that add more detail without it looking too complicated. 

AO4 - Present a personal and meaningful response that realises intentions and, where appropriate, makes connections between visual and other elements. 

      Overall I believe I have produced a meaningful response towards the research I done on Ansel Adams work by incorporating his style into my work. I done this by photographing in a similar composition to him by making the trees look extremely grand compared to the rest of the image, I also concentrated on the tonal range my picture would produce. This was especially important as I photographed lots of rich greens that contrasted each other and created a gradient.  This is something that Ansel Adams exploits in his own work. I think this is evident as the shoot progresses as I start to show originality more and more. Looking back on my work I think the compositional and tonal elements I wanted to introduce have been successfully done as evident from my completed and edited work below.